Atonality: Difference between revisions
| Line 12: | Line 12: | ||
*Shaffer, Wharton (eds.), ''Open Music Theory:'' | *Shaffer, Wharton (eds.), ''Open Music Theory:'' | ||
**[http://openmusictheory.com/postTonalAnalysis.html "Analyzing a Post-Tonal Piece from Scratch"] | |||
**[http://openmusictheory.com/atonal.html "Analyzing Atonal Music"] | |||
**[http://openmusictheory.com/twelveToneBasics.html "Twelve-Tone Theory: Basics"] | **[http://openmusictheory.com/twelveToneBasics.html "Twelve-Tone Theory: Basics"] | ||
**[http://openmusictheory.com/twelveToneOperations.html "Twelve-Tone Theory: Operations"] | **[http://openmusictheory.com/twelveToneOperations.html "Twelve-Tone Theory: Operations"] | ||
Revision as of 16:49, 31 July 2020
| This lesson is part of the Harmony category. |
Objectives
- Students will become familiar with the characteristics and techniques of atonality.
Resources
Readings
- Hutchinson, Music Theory for the 21st-Century Classroom:
- Shaffer, Wharton (eds.), Open Music Theory:
- Magnuson, Sound Patterns: Serialism
- Music Theory for Musicians and Normal People: "Atonality and Serialism"
- Kelley, Introduction to Post-Tonal Music Analysis:
Class Activities
- Discussion and definition of atonal composition, including Schoenberg’s twelve-tone row process
- Analysis of a twelve-tone row piece
- Composition of a short atonal piece
Assignments
- Twelve-tone row analysis of a written score